Tecniche di ombreggiatura a matita

8/10/2019 Tecniche di ombreggiatura a matita

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a free guide to

for beginning artists


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TABLE of CONTENTS A Free Guide to Pencil Shading Techniques for Beginning Artists Shading the Sphere: How to Shade Drawings Effectively

(Drawing , Spring 2010) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Drawing Board: Modeling Complex Form by Sadie Valerie

(The Artists Magazine , November 2013) . . . . . . . . . . . . . . . . . . . . . . . . 11 Excerpt from The Drawing Bible by Craig Nelson . . . . . . . . . . . . . . . . . 14 Excerpt from Drawing With Your Artists Brain by Carl Purcell . . . . . . . . 25

M O R E R E S O U R C E S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 3


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Depicting light and shadow are essential

to creating the illusion of three-dimensionalspace when drawing subjects such asspheres, ovoids, and the human figure.

b y J o n d e M a r t i n

Shadingthe Sphere

Correctly depicting how light falls on forms is essential toa realistic drawing. The previous article in this series cov-ered how to model values and gradations on the cylinder,which curves in one direction. Combining two cylindersone

on a horizontal axis and one on a vertical axisgives us doublecurvature. (See Illustration 1.) This article discusses how todraw value on the two basic geometric solids that curve in twodirections: the sphere and the ovoid. (See Illustration 2.)

Spheres and ovoids underlie many natural forms, includingsubjects crucial to a draftsman, such as the human head. Thesurfaces of most objects found in nature are complex, irregular,and so unpredictable that they can easily overwhelm us.However, when artists understand the inherent characteris-tics of these geometric solids, they are in a better position toperceive and draw natural forms effectively.

How Light Affects Value on a Sphere

The sphere is the purest example of a double-curved geometricsolid. It is perfectly round, and no matter where you hold it inspace its shape never changes. Every part of a sphere is equallycurved, and all points of its surface are equidistant from itscenter. Only a flat plane, such as a side of a cube, can be shadedan even value. Curving and rounding forms always producethe effect of graduated values. The sphere is the most powerfulexample of this, so well use it as the foundational example formodeling the surfaces of double-curved forms.

Its useful to know why gradations appear the way they do.When looking at a curved form, how many gradations can

Illustration 2

Illustration 1

A Free Guide to Pencil Shading Techniques for Beginning Artists | 3


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Edge of ShadowSide View (theoretical) As seen from viewer

Light Source (Incident Light)

A n g l e o f I n c i d e n c e

A n g le o f Re f le c t i o n

Viewer (Reflected Light)

Highlight

HL

S

we see? Most artists can tell you they see two, the shadow and thehighlight. Not only are these the most visible gradations but theyare also the most important to identify. As Illustration 3 shows, thedividing line between light and shade on a sphere is perpendicularto the direction the light comes from. The edge of the shadowindicates the exact point where the light ends (or where the lightsource can no longer reach). All shadows are the result of some-thing blocking the light.

As Illustration 4 shows, a highlight occurs at the spot on an objectat which the angle of the light source (which is incident light, hitting

the surface of the object directly) is equal to the angle of reflectance(at which the light reflects to the eye). In other words, the highlightis the most direct path from the light source to the object and then tothe viewer. Its the brightest of all the lights. Depending on the formssurface, the highlight may be more or less pronounced than on othersurfaces. For instance, a highlight on the glossy surface of a billiard ballwill reflect more light than a highlight on the matte surface of a tennisball.

Illustration 5 shows all the gradations that are necessary to giveform its three-dimensional illusion. These gradations are called

Illustration 4

Edge of ShadowSide View (theoretical)

90

Light SourceIllustration 3



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Edge of ShadowSide View (theoretical)

Modeling Factors on SphereAs seen from viewer

Light Source (Incident Light)




Highlight

HL

SDHT

LHT

DL

ML

LL

Light Light

Middle Light

Dark Light

Light Halftone

Dark HalftoneIllustration 6




Highlight(Reflection)

Dark Light(Deflection)

Illustration 5



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Illustration 7a Illustration 7b

Illustration 8

Highlight

Light Light

Middle Light

Dark Light

Dark Halftone

Light Halftone

Edge of Shadow

Form Shadow

Reflected Light Shadow

Accent

Cast Shadow

Form Shadow

Reflected Light Shadow



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modeling factors. The modeling factors are the planes that representthemselves to the illumination at different angles. As a result, theyproduce different values. Each of these facets is a plane that has aname, and if an artist shades each plane with the correct value and inthe correct sequence, the resulting shape will have three-dimensionalform. If the gradations jump or skip, the illusion of form is lost. Thistakes practicelots of practicewhich is why its best to start with asimple sphere before tackling more complicated objects.

In order from lightest to darkest, the modeling factors are the high-light, light light, middle light, dark light, light halftone, dark halftone,and shadow. The side view of the left sphere in Illustration 5 shows therelationship between the spheres surfaces, the light source, and model-ing factors. The right sphere shows the same modeling factors but from

the point of view of the viewer.

Modeling Values on a SphereThe surfaces that face the light (highlight, light light, and middle light)reflect the light. The surfaces that turn away from the light (dark light,light halftone, and dark halftone) deflect light, and as a result, theydarken. (See Illustration 6.) In order to model form effectively, it mustfirst be drawn by placing the shadow and the halftones that surroundit. The dark light, light halftone, and dark halftoneknown collec-tively as the halftonesare the most significant modeling factors tocreating the illusion of round form in a drawing. Illustration 7a shows

a sphere modeled with just the halftones and the shadow. As you cansee, the illusion of form is quite apparent, even without the middlelight, light light, and highlight.

Illustration 7b shows the sphere modeled with all the modelingfactors. The inclusion of all the gradations results in a more realizedillusion of form, and the highlight is now apparent. (In this example,the highlight is the white of the paper.) When modeling any form, theshadow is the first value to indicate. The less variation in value youdraw in the shadow, the better start youll have in modeling the rest ofthe forms.

The sphere resting on top of a cylinder in Illustration 8 allows usto explore the full range of modeling factors found in the shadows.Among the most important types of shadow for the draftsman are

form shadows and cast shadows. Form shadows are found on theform itself and begin at the exact point where the incident light ends.A cast shadow appears when a form blocks out illumination andprojects a shadow onto another surfacein this case a cast shadowappears near the top of the cylinder where the sphere has blockedthe light. Cast shadows either show the shape of the form castingthe shadow or reveal the shape of the surface that the shadow is castupon. The cast shadow is normally darker than the form shadow. Thereflected light shadow is the result of light reflecting from surround-ing surfaces into both form and cast shadows. (Its generally moreapparent in form shadows than in cast shadows.) The accent is the

Illustration 9a Illustration 9b

HL

SDHT

LHT

DL

ML

LL



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absence of light. It can be a deep hole or two forms touchingone another, as seen on the rim of the cylinder touching thesphere. It is the darkest of all the darks, and it gives richness toa drawing.

Modeling Values on an OvoidThe ovoid is a geometric solid that resembles an egg. Its simi-lar to the sphere in that every part of the surface is curved, butunlike the sphere its curves are not equal everywhere, and the

angle at which you hold an ovoid changes the shape that yousee. It is longer in one direction than the other, and the largerend is rounder, and the smaller end is pointed.

The ovoid is an irregular form, so shadows and modelingfactors behave differently than on a sphere. (See Illustra-tions 9a and 9b.) However, by knowing how light reacts toa sphere, the artist can take the same principles and applythem to the ovoid (or to any other form). The ovoid is alsothe first step in drawing a naturalistic object; its a usefulshape because of its relationship to the human form, beingsimilar to the head, rib cage, and other parts of the body.

LEFT

Illustration 10a,The Ovoid Girl (Front View)by Jon deMartin, 2009, black andwhite chalk on toned paper, 24 x 18.Collection the artist.

After the sculpture The Ovoid Girl byEliot Goldfinger.

BELOW

Illustration 10b,The Ovoid Girl (Side View)by Jon deMartin, 2009, black chalkon white paper, 24 x 18. Collectionthe artist.

After the sculpture The Ovoid Girl byEliot Goldfinger.



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Illustrations 10a and 10b show front and side views of an ovoidfigure, and these drawings show that the characteristics of double-curved surfaces apply to ovoids as well as to spheres. Every form hasits brightest part. Whether wide, flat, deep, narrow, long, or short, eachsurface still turns in two different directions.

The brightest parts of an ovoid (or a sphere) show a more concen-trated amount of light than the brightest part of a cylinder does, becausethe cylinders surface only bends one way. The surface of a cylinder runs

straight along its axis, whereas the forms of The Ovoid Girlare convexand continually gradate.

The head is a perfect form to end this discussion with becauseits a shape that closely resembles an ovoid. The head is a complexnaturalistic subject, but reducing it to its most basic shapes makes thetask of drawing it more manageable. Light falls on the head the sameway as on an ovoid. It has a shadow, highlight, and all the modelingfactors in between.

LEFT

Julieby Jon deMartin, 2007,black and white chalk ontoned paper, 20 x 18.Collection the artist.

NEXT PAGE

Self-Portraitby Jon deMartin, 2010,black and white chalk ontoned paper, 17 x 14.Collection the artist.



10/33A Free Guide to Pencil Shading Techniques for Beginning Artists | 10


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UNDERS ANDING HOW light falls on anobject is fundamental to creating believ-able illusion. Drawing an imaginarysphere is a great exercise for learninghow light and shadow behave on a simpleobject before you attempt more complexsubjects. Tis lesson is also an opportu-nity to master pencil control and a lighttouch. Even if you draw and paint with adifferent style, developing rened pencilcontrol and mastering a thorough under-standing of light will help develop sensi-tivity in both your hand and eye, appli-cable to all subjects, styles, and media.

1. Block In the Contour Te rst step is to draw a circle , followingthis easy method. Lightly sketch a square,and then slice off the corners to make asketchy octagon.

Next, indicate a direct light source

thats angled 45 degrees slightly towardthe sphere by drawing a three-dimensionalconical arrow from the upper left. Tinkof this as a wall of white light angled asthough its shining from a high, north-lit

window.Note: Use a 2H pencil to draw light,

soft lines that you can erase easilywith-out damaging the paper! I like to drawthree to four very light lines per stroke sothe graphite is dark enough that I can seemy lines. Unless otherwise indicated, usea 2H pencil for this exercise.

Draw the terminator . Te direct lighthits the half of the sphere closer to thelight source, but the l ight cant reach thehalf turned away from the light sourcebecause light rays dont bend. Te dis-tinct, conceptual line between the twohalves marks the ending of the light, so

we cal l the line theterminator and drawit perpendicular to the light source. Later

well make this l ine blurry and soft, butfor now its one distinct line.

Sketch the cast shadow. Te limits ofthe cast shadow are determined by lines,

parallel to the light source, which are alsotangent to the circle at both visible endsof the terminator and extend down to theright to dene the edges of the shadow

cast on the ground. Envision these linesand sketch in a horizontal ellipse for thecast shadow within these limits.

2. Rene the ContourSmooth out the circle contour , continuingto slice off corners of the evolving polygon

shape in progressive stepscarefully andmethodically proceeding until a smoothcircular form emerges. Tis is a slow,gradual process, so be patient. If yourcircle gets at or lopsided, think of llingit up with air and pushing out the dentsfrom the inside. Your lines should all stillbe soft, light, and easy to erase. Use apen-style retractable eraser (see Materials,page 20) to clean up the lines so theyre

very thin.

Pencil in the two poles of the ter-minator and sketch an ellipse to representthe terminator between these two poles.Erase the back half of the ellipse so theterminator appears to be half an ellipse othe visible side of the sphere.

Te terminator is an ell ipse becausethe light source is three-dimensional andangled slightly from the front. If the lightsource were directly from the side, theterminator would be a at line. Manyportrait paintings show a light sourceangled from the left upper corner and

tilted slightly from the front because thatangle reveals a more sculptural form.

3. Fill in the ShadowsUsing the softer H pencil,ll in theform shadow (the shadow side of thesphere) and the cast shadow with oneeven, medium tone. Make short strokes

with a very light touch, and angle yourmarks in a variety of directions. If all youshading strokes go in the same direction,

Modeling Complex FormLearn to draw a value sphere by using a controlled graphite shading techniqueto render light shining on a three-dimensional object.

drawing board BY SADIE VALERI



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your sphere will look hairy, so changedirections often. At this point your sphereshould look at and graphical.

Dont press hard on the pencil as you ll in the shadow areas; just hover your pencil softly in one area to buildup a medium value without damagingthe paper. You might notice tiny dots of

darker graphite building up on the paper. You can use your kneaded putty eraser,twisted into a sharp point, to tap outthe black dots and texture.

4. Turn the FormUse shading to make the sphere appearround. Making an object look three-dimensional is calledturning the form.Starting at the terminator, with a 2Hpencil, shade a mist of light marks uptoward the highlight, the area wherethe light on the object is brightest. Keepdarkening the values nearest the termina-tor until its sharp edge begins to softenand the form starts to look round.

Think about the surface three-dimensionally as you work: imagine yourea small ant walking over the surface asit turns up towards the light. Te more

you think sculpturally, the deeper will be your understanding of the form, and thatknowledge will improve your drawing.

Dont blend! One goal of this exerciseis to develop a light touch and an evenshading techniquewithout relying onblending. If you rub the graphite, it willlook greasy and sometimes the pigment

will shift toward an unpleasant brown hue.

5. Rene ShadingFinesse your modeling on the sphere.Layer H and 2H pencil shadings one overthe other. An H (softer) pencil will makea darker value, but you will also see moregrain and texture. Using the 2H pencilover the H pencil shading will even outthe texture by l ling in all the little whitespeckles that are left by the deeper crev-ices of the paper.

Rene the cast shadow. Te place where the sphere sits on the ground andtouches the cast shadow should be verydark since no direct light can reach there

Allow the edges of the sphere and the casshadow to merge at that spot.

Develop the reected light as yourene the shading. So far weve onlydiscussed the direct l ight source and theshadow. Reected light is caused by ambent light in the room or light bouncing offthe ground and onto the shadow side ofthe sphere. Dont erase to create reectedlight or the area will be too light and willruin the sense of three-dimensional formInstead, continue to darken the area just

behind the terminator, and the reectedlight will naturally emerge.Keep the area of reected light subtl

you may nd you even need to darken it.If its the correct value, it should disappecompletely when you squint hard at yourdrawing.

1 2

DIRECTION OF LIGHT

T E R M I

N A T O

R

CAST SHADOW

L I M I T O F T H E C A S T S H A D O W

L I M I T O F T H E

C A S T S H A D O W

TERMINATOR POLE

TERMINATORPOLE

T E R M

I N A

T O R

MaterialsPaper: Strathmore 400 Series drawingpaper pad, medium surface, 14x17 (Pleasebe careful to buy the exact paper padlisted; look carefully for the 400. Dontbuy sketch or recycled paper; theyreboth much lower quality and will createproblems. The correct pad has a browncover, spiral binding along its short edge;and it shows a drawing of a womans face.)

Pencils: Staedtler Mars Lumograph 100(blue wood) 2H and Hat least ve ofeach

Erasers: kneaded rubber eraser;PaperMate Tuff Stuff retractable eraserstick (This small white eraser has a blackplastic pen-style case and is found withthe drafting supplies; other brands aretoo wide.)

Drawing board: Helix lightweight,metal-edge, 16x21

Other: sandpaper220-grit placed at ona table or mounted on a block or handhelddetail sander; X-Acto snap-off blade cut-ter (small utility kniferetractable snap-off style not a large blade box-cutterand not a scalpel knife); white artiststape (low-stick masking tape called

artists tape, found in art supply stores)

Pencil GradesGraphite pencils are graded by hardness:harder pencils (H, 2H, 3H, 5H, etc.) make

lighter, ner marks, and soft pencils (HB,B, 2B, 4B, 6B) make darker, broader marks.(Some brands have an F grade betweenthe hard and soft pencils.)

I encourage you to begin with just two pen-cils (H and 2H) to learn how to get the widestpossible range of value just by way of control-ling the pencil. After you master this, you cantry a wider range of hard and soft pencils.



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6. Do the Final ShadingShade in the background and surface. If

your goal is a completed drawing, llingin an even tone for the background anda lighter tone for the ground the sphererests on will result in a nice, nished look.Be careful, though, that you dont create a

dark little cloud hugging your sphere. Itcan be tempting to make the backgrounddark right around the edge of the sphere,but that will cause the background to

jump forward. o make the backgroundsit back visually, keep it one even tone andll in the rectangle of the picture edge.

Rene all values, continuing to adjustthem across the entire drawing, layeringH and 2H pencils as necessary. In someplaces the background will be the same

value as the sphere. Allow these edges todisappear; these lost edges create a feeling

of atmosphere and depth. When your drawing is successful, your sphere will look as though it couldroll right off the page, or as though youcould pick it up. Tats when you know

youve captured the i llusion of three-dimensional form.

Once youve mastered the valuesphere, you can use this shading tech-nique to draw any subject. You will bethinking sculpturally, and the successful

illusion of solid, three-dimensional formalong with your rened pencil technique

will strengthen all your drawings.

SADIE VALERI, who has taught graduate studentsat the Academy of Art University in San Francisco,currently conducts workshops and classes atSadie Valeri Atelier in San Francisco. Known forher meticulously crafted still life oil paintings, shewas judge for the still life category of The ArtistsMagazine s 2012 Annual Art Competition and hascreated a video demonstration of how to drawthe value sphere, available to download. To watcha preview and purchase the video, go to www.sadievaleri.com/videos. Visit her website at www.sadievaleri.com.

5 6

LOST EDGE

LOST EDGE

BACKGROUND

REFLECTED LIGHT

GROUND OR SURFACE

3 4

FORM SHADOW

CAST SHADOW

HIGHLIGHT

Learn More ONLINESee larger images of Valeris demonstration,plus download her free value sphere worksheetin PDF format, at ww w.artistsnetwork.com/learnmore2013.

Sharpening PencilsA very sharp pencil gets its point downinto the texture of the paper, which cre-

ates a smoother tone, even when youuse a light touch. Sharpen your pencilrst by whittling away the wood with anX-Acto snap-off blade cutter (the largebox cutters and scalpels dont work aswell). Expose an inch of graphite lead,then rub the side of the graphite onsandpaper, turning the pencil constantly,to create a very sharp point.



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Excerpt from The Drawing Bible by Craig Nelson

THREE PART COMPOSITIONCharcoal on bristol board12" 18" (30cm 46cm)

You create form in a drawing by using value to

depict light and shadow. Develop value varia-

tions carefully and slowly, and only after care-

fully observing the tones on the subject itself.Be sure to consider the character of your sub-

ject. For example, round or soft, turning forms

will have a soft, gradual value change, while

sharper edges will have a crisp, abrupt value

change.

It is also vital to consider the location of

your light source when using value varia-

tions to model forms and create shadows. Be

sure that your highlights and shadows are

located consistent with the direction of thelight. Also consider the differences between

types of shadows. Form shadows are those

dark areas on the side of an object where the

light does not hit; cast shadows are those dark

areas where the light has been blocked by

another object.

Using Value to Create Form

Light and Shadow Are Necessary to Create FormThe three relatively simple forms here (a squash and two apples) are all light invalue. This enables shadow tones to show well. A single light source helps dene theforms.



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Cast shadow Form shadow Light source

Cast shadow Form shadow Light source

Detail of AppleThe form shadows in the apple goes fromlight to dark as the light source gets furtheraway. A similar principle applies to the cast

shadows, only they get lighter the furtherthey get from the object.

Detail of SquashFor the squash, I use form shadows to cre-ate the effect of the ridges. Notice howthe top of the ridges are lighter (where thelight hits) while the bottom part of theridge is darker. I also gradually darken thevalues to give more shape to the ridges.

USE A SINGLE LIGHTSOURCE

To make value changes onyour subject easier to see,shine one light directly onyour subject and block out

other unnecessary light.



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Our eyes depend on light and shadow to dene

form, so it is important to understand the

basic properties of light and shadow to create

form in drawing.Most objects you portray with tone and

value will exhibit the following: Form light . The area facing and struck by

the light. This producing the lightest part,

or highlight , of the object. Form shadow . The area where light does not

hit. Hard edge . A characteristic of forms with

crisp, well-dened edges.

Soft edge . A characteristic of rounded

forms where edges are not clearly dened. Cast shadow . The shadow created on a

surface when the light on the surface isblocked by another object. It is usually

hard-edged. Reected light . Lighter areas within a

form shadow, created when a bit of light is

reected back onto it. Core shadow . The darkest part of a form

shadow, not affected by reected light.

Understanding Light and Shadow

Different Aspects ofLight and ShadowThese three simplewhite forms show thevarious aspects of lightand shadow modeling.White objects workbest for this becausethere is no local colorvariation to interfere.

WHITE FORMSCharcoal on heavybond paper10" 16"(25cm 41cm)

Reected lightForm shadow

Form lightCast shadow



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Fine, sweeping linescreate the texture of hair

Use Charcoal for TextureIn this sketch, I used soft char-

coal to create different texturesfor this ram. Although the char-coal was soft, I did this entiresketch without blending. Instead,lines create the shading and givethe animal form. Tone and lineare more concentrated in thehead area for focus.

THE BACHELOR4B and 6B charcoal on graysketching paper24" 18"

(61cm 46cm)

Strongly directional linesindicate the contours ofthe animal

C H A R C O A Lgallery



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D E M O N S T R AT I O N

Here youll learn how to map out the patterns of light and shadow as well as

develop the principles of light and shadow. Since your paper is toned, let it act as

the middle value for this drawing, applying lights and darks on it.

Using Values to Create Lightand Shadow

1 Sketch in the SubjectStudy your subject.Then, using a 4B charcoalpencil, lightly sketch onthe smooth side of the

paper. Do not worry aboutlight and shadow yet.

Materials

SURFACE18 24 (46cm 61cm) light gray

Canson paper

MEDIUMS4B and 6B charcoal pencil

Soft vine charcoal pencil

White charcoal pencil

Soft white pastel

OTHER MATERIALSFacial tissue

2 Map Out the Value VariationsSee the basic patterns of lights and darks bysquinting your eyes as you look at your subject.

Using the side of a 6B charcoal pencil, lay in theareas where you see the darks. Pay special attentionto darker value patterns such as cast shadows (page84).



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3 Build Darker Values and Add ShadowsSwitch to a piece of soft vine charcoal and use it tostrengthen the dark values. Use a piece of facial tissue to

lightly rub the vine charcoal, blending the tones, solidify-ing the shadows and unifying the darks. Dont worry if yousmear some of the charcoal into the light areas. Shape yourkneaded eraser into a point and use it to clean up any areas

where you dont want darks. Spray a light mist of workable

xative over the drawing. Allow it to dry.

4 Strengthen the Value ContrastAdd soft whites with a white charcoal pencil. This willstrengthen the value contrast in the esh tones, the skirt, abit of the hair and the reections in the wall on the right.



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5 Amplify the Value Contrasts andFinishRe-examine your subject, looking for

the darkest darks within the shadows.Use the 6B charcoal pencil to clarifyand rene values and edges of theshadows. Follow this same procedurefor the lights. Use a white Nupastel forthe lightest lights. With the 6B char-

coal pencil, add the pattern detail inthe dress and, with a soft white pastel,amplify the value contrasts where nec-

essary.

A SEAT IN SOHOCharcoal and pastel on gray Canson18" 24" (46cm 61cm)



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In order to add a dramatic effect to a drawing,

use the concept of . A lost edge occurs where

the edge of the form seems to disappear

into the background. You lose light edgesin a light space or dark edges in a dark area.

Basically, a lost edge fades into an area with a

similar value, while a found edge relies upon

contrasting values to dene it.

One strong light source and a dark back-

ground will provide ample opportunities for

dramatic effects. Keep your use of contour

line to a minimum. Use it only in discrete

places as a very subtle accent. Most of theform should be dened by the edges created

by the transitions between light to shadow.

Add some limited details and softer descrip-

tive values within the light side of the form.

Lost and Found Edges

CHIAROSCUROThe lost-and-found idea is not new.Caravaggio, a Renaissance painter,used this concept to give a sense ofdrama to his work. Chiaroscuro , mean-ing light and shadow, is the termassociated with such dramatic, highly

contrasting tonal effects. In thisapproach, the darks basically meltinto the background, allowing thesubject to emerge out of a dark void.

Use Lost and Found Edges to Create a Dramatic EffectThe contrast of strong black and white creates drama as this gure almostemerges from the deep shadows of the background. I used midtones and

lights to clarify the details.

WHITE ON THE ROCKSCharcoal on artists vellum24" 18" (61cm 46cm)



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Lost and found edges can make your subject look like its in motion, which is per-

fect if your subject is a dancer in mid-leap. The focus will be the upper body, so

that will have the most detail, while the legs will remain blurry to suggest action.

Using Lost and Found Edges

Materials

SURFACE20 18 (51cm 46cm) artists

vellum

MEDIUMS6B charcoal pencil

Black soft pastel

OTHER MATERIALSKneaded eraser

Paper towel or facial

tissueWorkable spray xative

1 Lightly Sketch theSubjectDraw a light gesture sketchwith a 6B charcoal pencil.Be sure to maintain propor-

tional accuracy.

DRAW LIKE A PAINTERWhen you draw on white paper, let thewhite of the paper be your lightest light.Shape your kneaded eraser into a pointand use it to lift out the highlights, just

as a painter uses a brush to lift paint.

2 Lightly Add the Initial Layer of ShadowsUse the 6B charcoal pencil to lay in theoverall shadow tones on your subject, but keep

them lighter than they appear. (You will buildthe darks later.) Lay in the background in thesame manner.



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3 Soften the Edges and Clean Up the Light AreasUse a soft paper towel or facial tissue to smear theseinitial tones. Do not be too concerned about smearing thetones into the white areas or over edges. You may use a

kneaded eraser to clean up some light areas. Leave softedges in the legs to suggest movement.

VARY THE PRESSURE AS YOU LIFTHIGHLIGHTS

Use lots of pressure to lift out a nearly whitehighlight. Use a little pressure when a soft gray iswhat you need.

4 Add Another Layer of Darks and Rene the LighterTonesWith a soft black pastel, add another layer of darks and repeatsmearing to deepen the darks, losing edges in the background.

Shape a kneaded eraser to a point and use it to carefully to liftout the lighter tones and bright, clean lights in the upper body.Add a light layer of workable spray xative and let this dry for23 minutes.



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5 Add the Final DetailsUse a very sharp (page 73) 6B

charcoal pencil to carefully add anotherlayer of darks. Keep the shadow edgeslost. With a kneaded eraser, delicately

pick out the lights. Add any subtleline work that may be needed to renesome areas. Keep the legs and feetmore blurred to suggest action.

DANCERS LEAPCharcoal and black pastel on artists vellum20" 18" (51cm 46cm)



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D E M O N S T R A T I O N

Capturing an Edge With Contour LineThere are two ways to dene the edge of any form: with value changes or withline. Whenever you create a drawing that utilizes both line and value, you willhave to decide which will be dominant. I am primarily a value artist, but I lovethe beautiful line work of such masters as Rico Lebrun and Hokusai. I utilize contour drawing in two instances: I use it to dene some of the edges where gureand ground are the same value and when I dont have time for a complete valuedrawing of a scenein which case, I do a contour line drawing of all the shapesinvolved and ll in the values later. The most difcult part is knowing when tostop. I could use someone to snatch my pencil away.

Reference PhotoI like the way shapes of shadow deneAlma Larsons face and hand.

The overalls are dened byunique shadow shapes.

1 Dene the ShapesAfter the initial search for relationships, my rstuse of contour line is to dene (lightly) the shapesthat will be left as white paper. Instead of drawingeyes, nose, mouth and ngers, draw the shapes of

light value. If you have trouble seeing them, squintuntil you see only the shapes of value. Draw thoseshapes slowly with a deliberate line. Be careful tonote each turn and undulation in the edge.

The edge of the light shapehere denes the structure ofhis cheek. Its not arbitrary.

Each turn of the shapes edgereveals a different aspect ofthe forma depression, aprotruding chin, etc.

Each nger has a differentshape of light dening it.

Excerpt from Drawing With Your Artists Brain by Carl Purcell



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Alma Larson

Powdered graphite and graphite pencil16" x 12 (41cm x 30cm)

2 Lay in the Values and Dene the EdgesThe idea here is to have the gure emerge from the darkshadows behind him. Put in the value and let the light shapes popout. Apply powdered graphite using a piece of thick piano felt as abrush. Lay in the background dark and carry it across and into thegure. It does not have to be recognizable, just dark. Dont let thephoto tell you what to do. Dene the intricate edges with a blend-ing stump. Lift out small pieces of light such as the edge of the hatbrim and the brass button with a kneaded eraser. Some edges willbe lost.

3 Select Areas to be DenedToo much contour line would ruin this drawing. To keep thedominance on value contrasts, carefully select the areas to bedened by line. Resist the temptation to dene everything. Leave inlost edges, choosing the contours that best describe the form.

Merge the dark gure and thedark background in a single value.If you dene this edge, you robthe viewer of guring it out.

Lose the edge of the hat hereas it merges with the light.

Dene the light edge of the hatwith some dark in the background.

Carve out the lightsby placing darksnext to them.

Put in the gray, leavethe light shapes.

Start near the center ofinteresthis face. Dene afew contours with deliber-ate, carefully pulled lines.

These lines along the shoulderwere pulled with a 6B pencil.

The pencil can be alter-nately dragged sidewaysto produce broad lines,then lifted for more deli-cate lines.

One careful line can give all thenecessary information about thezipper ap.



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6

5 4

3

2

1

Three things affect the value of anysurface:1. The local tone, or the actual value

of the surface free from the ef-fects of light and shadow.

2. The brightness of the light source.Even a dark local tone can have

a highlight from a strong lightsource.

3. The direction of the light source.Surfaces at right angles to thelight source receive the most. As aplane turns away, it receives lesslight and becomes darker.

Finding valuerelationships

Everything Is RelativeValues are only evident in relation to othervaluesa light object will appear lighternext to something dark and vice versa.

The Different Areas of ValueA black and white sphere is a good illus-tration of the six different areas of valuesthat form under a light source.

Capturing These Relationships There are numerous ways to renderthe changes of value you see. Themethod you choose is completelypersonal, a result of your likes anddislikes and your choice of medium.

Dont worry about developing

a personal style. Learn to see valuerelationships, become familiar withthe various media, and your per-sonality will imprint itself on yourdrawings naturally. Later, Ill teach

you how to render these relation-ships using the most common draw-ing tool, the graphite pencil, so youcan focus your attention on seeingthe relative value in the subject.

1 Highlight: The area receiving the most direct

light.

2 Light: The surface area receiving indirectlight.

3 Shadow: Where the form turns graduallyaway from the light source.

4 Core shadow: The most concentrated area ofdark on the sphere. Since it is parallel to thelight source (which is coming from above right),it receives the least amount of light.

5 Reected light: Light bounced back from

nearby surfaces. Reected light is still part ofthe shadowed area and as such is never lighterthan the shadow area on the lighted side of thesphere.

6 Cast shadow: The shadow cast by the objectis almost always darker than the core shadow.The length of the cast shadow depends on theposition of the light source. Its darkest and itsedges are sharpest nearest the object.



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It is impossible to create with anymedium the full range of valueshifts that you can see in nature.Simplifying the range is a necessity.Most artists use the standard valuescale, which divides the rangesof value into nine increments: a

middle gray, four gradations ofdarks and four of lights. This maynot seem like a lot, but its actuallyabout as many as most people caneasily distinguish.

Creating your own value scaleis a useful exercise for learning toadjust a value to the values aroundit. Divide a 9-inch (23cm) rectangleinto 1-inch (3cm) segments. Using a2H pencil and very little pressure,

shade the rst segment a very lightgray. Switch to a 6B pencil and makethe last one as black as you can get

it. Now shade each of the remainingsegments in even jumps betweenthese two extremes. You may wantto use a blending stump to even outthe value in each segment.

Two problems will arise: First, thetransition from one segment to the

next may varyyou might have aminor jump in one place and a huge

jump in another. If you adjust one, you have to adjust all the rest. Note:it is easier to make a value darkerthan lighter.

Second, the value in one segmentmay become lighter as it approachesthe border of the next. This willcause you to shade the next segmentincorrectly because youre basing it

on the border value and not the in-terior. As always, its helpful to step

back and squint.

The Value Scale

Practice With Your Pencil

Here is a great subject for drawing value relationships and theeffect of light on a curved surface. Squint and use your scale tocapture the values correctly.

Practice With Your Scale

Gather a few simple items that are light in value. Hold up yourvalue scale and nd the square that most closely matches thevalue of an area. Comparison is one of the most important abili-ties needed.

Making a value scale



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1 Begin with a Search for AnglesBegin with the angle of the shapes, therelative size of each shape and the relativeposition of key points. After that, youre readyto conduct a search for relative values.

2 Establish a Range of ValuesThere is no right place to start addingvalue to a drawing, but if youre comparingvalues (and you should), establish a standardto compare them against. I look for one of theextremes of white or black and begin there.Compare the lighter range of values to thewhite of your paper. This subject has a black

shape. Perfect! When you squint, you see that there aretwo tones in the dark shape: black and a darkgray as the rounded plane of its back turnstoward the sky. Put this black in with a 6B pen-cil. Now you have a standard of comparison forthe gray tones.

D E M O N S T R A T I O N

Rendering Shapes of Value

Reference Photo Your intellect sees birds in terms of legs,feathers, eyes and beaks, not shapes ofvalue. Take your focus off these nameableitems and put it on shapes.

All forms, from people to trees, are made of shapes of vary- ing value. Some of these shapes are very distinct and somehave blurred edges. Accurate drawing requires seeing andrecording the conguration of each value shape, their relative values, and the edges where these shapes meet. This gullis made up of light, gray and dark shapes. Forget about thebird and focus on the value.



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The shadow area on these white feathers is thesame as the shadow on its neck.

This is the darkest value on the bird. Noticehow it gets lighter as it moves up the back. These two areas are the same value.

This shadow is the only informationabout the undulations in the chest andneck. Change it and you change the bird.

3 Establish the Middle GraysThis is where squinting is crucial. Your intellecttells you that the bird is black and white. Beginningstudents typically accept that information and hesi-tate to violate the white very much. Consequently,the shadow area is rendered far too light. Squint andcompare the value on the back of its neck with thedark gray of the light-struck back. A highlight on theblack shape is the same value as the shadow on thewhite shape! Every dip and turn in the shape of the gray isimportant: Each turn, each change in the edge tellsyou where the form turns in space, where it dips orbulges.

4 Finish with a Renement of ShapesWhen we put in the dark of the eye (withits blurred edge just as we see it), the shadow

area looks right. Now add the value of the legs,feet, post, etc. Seeing shapes of relative value,not detail, is the key.

From the Artists Brain You dont squint to see the exact value ofan area; you squint to see the relationshipof that value to the value adjacent shapes.Squinting eliminates details and allows youto see the bigger shapes of value.



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The method you choose to create values using a graphite pencil is your choice. Some prefer crosshatch-ing, some prefer to blend, and some(myself included) prefer to create the

value with strokes that also denethe shape. This latter technique is

called broad-stroke.For the bulk of my drawing, I

like the directness of adjusting thepressure of the pencil to achieve theright value. Its similar to allowingpaint strokes to become part of the

nished work instead or blendingthem perfectly.

Getting the value relationshipsright is far more important than themethod you choose. But, so you cansee how these methods appear in anished drawing, Ive done the same

drawing three times, each employ-ing a different method. In all three,the darkest and lightest areas arethe same as well as the relationshipof grays. Only the technique differs.

Methods ofrendering value

Blending Graphite can be blended and rubbed toachieve a nearly photographic effect. Inthis drawing, I used a 2B pencil for thedarker areas and an HB pencil to lay downthe lighter values. I then went over thestrokes with a blending stump.

Crosshatching Cross-hatching is a series of straight par-allel lines, overlaid by more lines runningin opposing directions. These are built upgradually to achieve gradations of tone.Cross-hatching should be used for grada-tions in tone, not to establish the shape ofthe rounded form.

Broad-strokeThis stroke differs from cross-hatching intwo ways. Instead of using a sharpenedpoint, the end of the graphite is sandeddown at an angle to create a chisel point.Also, the strokes follow the plane andvary in length. This is my personal favoritefor use in my sketchbook because its fastand re-enforces the planes in the subject.



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71

Blended Graphite MethodClovelly Dry Dock I

HB & 2B Graphite pencil, 9" x 12" (23cm x 30cm)

Crosshatching TechniqueClovelly Dry Dock II

0.5 mm graphite pencil, 9" x 12" (23cm x 30cm)

Broad-stroke MethodClovelly Dry Dock III

6B graphite pencil, 9" x 12" (23cm x 30cm)



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